DOCSLIB.ORG

Volume 12, Number 2, Winter 1985

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

inet WINTER, 1985 Volume 12, No. 2 International Clarinet Society > ■: iifip Pi pin' hot Pete Fountain plays it hot. His clarinet...Leblanc. Experience the heat of a pipin' hot Pete Fountain. Now offered in four Leblanc artist and three Vito student models. For details, write to G. Leblanc Corporation, 7019 Thirtieth Avenue, Kenosha, Wisconsin 53141. © G. Leblanc Corporation 1985. Ail rights reserved. LEWainc^) ■ Musical chairs — Part II 2 Pierce's potpourri 3 met Jerry D. Pierce WINTER, 1985 International Clarinet Society 1985 Conference 4 Volume 12, No. 2 ICS Conference to feature variety 6 ICS Conference competition information 8 An interview with Colin Bradbury 10 James Gillespie The clarinetists of the B.B.C. Symphony Orchestra 12 British clarinet concertos 14 Ewart L. Willey The Czech scene 18 Bohumir Koukal Debussy's works for clarinet — Part II 19 Dennis Nygren Announcements 24 ICS members' activities 26 Clarinet talk 27 Arthur Henry Christmann Classified advertising 27 page 5 Concerts & Recitals 28 Swiss kaleidoscope 30 Brigitte Frick Beethoven's chamber music involving clarinet 34 Ricky Duhaime Claranalysis 40 Lee Gibson Care and repair 41 Robert Schmidt An Ode to Cylindrical Bores 44 page 31 Record rumbles 45 Jim Sauers Record reviews: Alan E. Stanek 46 John W. Kuehn 46 Keith M. Lemmons 46 Linda Pierce 47 William E. Grim 48 Jerry Pierce 48 Lyle Barkhymer 49 Book reviews: John R. Snyder 50 page 24 Dan Leeson 50 New music reviews: Fred Ormand 54 Ewart Willey 55 New publications for future review 55 Tom Foolery 56 Index of advertisers 56 ABOUT THE COVER: The clarinetists of the B.B.C. Symphony Orchestra. See story on page 12. The Clarinet — 1 International Commercial Advertising/General Advertising Rate Clarinet 1 Issue 4 Issues 1 Issue 4 Issues Color Color B&W B&W Society Outside Back Cover . $660 $595 N/A N/A Inside Front Cover .... $570 $515 $330 $300 President, Jerry D. Pierce, 4611 Mounds Road, Anderson, Indiana Inside Back Cover $570 $515 $330 $300 46013. Phone (317) 643-2914. Full Page .. $475 $435 $265 $240 Past President, Lee Gibson, 1226 Kendolph, Denton, Texas 76201. Half Page N/A N/A $145 $130 Vice-President, David Etheridge, School of Music, University of Okla¬ One-fourth Page N/A N/A $90 $80 homa, Norman, Oklahoma 73069. One Column-inch N/A N/A $35 $35 Secretary, Norman Heim, 7402 Wells Blvd., Hyattsville, Maryland 20783 Treasurer, James Schoepflin, Dept. of Music, Washington State Universi¬ Pre-printed 4-page sigs — $250. Specifications furnished on request. ty, Pullman, Washington 99164. Phone (509) 335-3961. Editor, James Gillespie, School of Music, North Texas State University, A 10% discount on the second entry will apply for two or more con¬ Denton, Texas 76203. secutive entries of the same advertisement. Publisher, Betty Brocket!, 1774 Avalon, Idaho Falls, Idaho 83402. Phone (208) 522-0908. Circulation Information: Advertising Manager, Henry Duckham, Conservatory of Music, Oberlin (a) Rates based on 2000 copies. College, Oberlin, Ohio 44074. (b) Character of circulation: Clarinet teachers, students, and profes¬ Editorial Associates, Lee Gibson (address above); Himie Voxman, 821 N. sionals; college music departments and libraries. Linn, Iowa City, Iowa 52240. (c) International circulation. Editorial Staff, John Mohler (Editor of Reviews), School of Music, Uni¬ Deadlines for copy: Sept. 15, Dec. 10, March 10, May 10. Back issues: versity of Michigan, Ann Arbor, Michigan 48109; James Sauers (Associate for Reviews of Recordings), 1234 Summit Street, New single copies $6.00; order from Betty Brockett, 1774 Avalon, Idaho Falls, Haven, Indiana 46774; Arthur H. Christmann, 4554 Henry Hudson ID 83402. Parkway, New York, New York 10471; James Schoepflin (address Camera-ready commercial advertisements should be sent directly to: above); Henry Gulick, School of Music, Indiana University, Blooming- ton, Indiana 47405; John Anderson, School of Music, University of Henry Duckham, Advertising Manager Minnesota, Minneapolis, Minnesota 55455; Robert Schmidt, School of Conservatory of Music Music, Ithaca College, Ithaca, New York 14850; Brigitte Frick, Oberlin College Brachmattstr. 16, CH-4144 Arlesheim, Switzerland; Bohumi'r Koukal, Oberlin, Ohio 44074 Praskova 7, 772 00 Olomouc, Czechoslovakia. I.C.S. Research Center, Norman Heim, Coordinator, Music Depart¬ ment, University of Maryland, College Park, Maryland 20742. Regional Chairmen: Northeastern: Norman Heim. Address above. Southeast: F. Gerard Errante, 4116 Gosnold Ave., Norfolk, Virginia Musical chairs — Part II 23508. North Central: Himie Voxman, 821 N. Linn, Iowa City, Iowa 52240. South Central: Wilbur Moreland, Department of Music, University of Southern Mississippi, Hattiesburg, Mississippi 39401. Northwest: William McColl, 1354 E. Interlaken Blvd., Seattle, Washing¬ ton 98102. Phone (206) 322-7788. Southwest: Lee Gibson (address above). Western Canada: Ronald Goddard, School of Music, Brandon University, Brandon, Manitoba, Canada R7A 6A9. Eastern Canada: Leo J. Chak, 4 Forest Laneway #2308, Willowdale, On¬ tario, Canada M2N 2X8. Pacific: William Dominik, Conservatory of Music, University of the Pa¬ cific, Stockton, California 95211. International Liaison, Sherrick S. Hiscock II, P.O. Box 1212, Elizabeth City, North Carolina 27907. National Chairmen: Argentina: Mariano Frogioni, Juramento 5186, 1431 p. 1 "B", Buenos Aires, Argentina. Australia: Neville Thomas, 36 Bishop Ave., Randwick, Sydney, Australia 2031. Belgium: Marcel Ancion, Avenue Brachet 21, 1020 Brussels, Belgium. Chile: Luis Rossi, Los Leones 709, dep. 36, Providencia, Santiago, Chile. Czechoslovakia: Milan Kostohryz, U Smaltovny 22/A. Praha 7, Czecho¬ slovakia. England: Pamela Weston, 1 Rockland Rd., London SW15 2LN, England. France: Guy Deplus, 37 Square St. Charles, Paris, France 75012. LAROY BORCHERT has been named to the faculty at Italy: Prof. Michele Incenzo, Viale Tito Livio, 176, Rome, Italy. Phone New Mexico State University where he will be teaching clar¬ 349-3653. inet, saxophone, and oboe. In addition, he will also be teach¬ People's Republic of China: Wang Zhi-Jian, Tianjin Conservatory of ing theory and coaching woodwind ensembles. He earned Music, Tianjin, People's Republic of China. his B.M. from Concordia College in Moorhead, MN where Spain: Jose Thomas-Perez, General Romero Basart, 131 6.e Dcha., Madrid, Spain. Phone 705 4167. he studied clarinet with David Townsend and saxophone Singapore: Dr. Ong Eng San, 21D Grange Heights, Singapore 0923, with Gail Hall. After two years as the instrumental director Republic of Singapore. in the Greenbush, MN Public Schools, he entered Baylor Sweden: Kjell-Inge Stevensson, Mistelvagen 10, 5-197 00 BRO. Sweden. University where he studied with Richard Shanley, graduat¬ Uruguay: Horst Prentki, Varo 1078, Montevideo, Uruguay. ing with an M.M. in 1983 and went on to pursue his D.M. ICS Correspondent for Germany: Allan Ware, Krumme Strasse 26, D-4930 Detmold, West Germany. at Florida State University studying with Fred Ormand. He © Copyright 1985, INTERNATIONAL CLARINET SOCIETY has performed as clarinetist with the American Wind Sym¬ ISSN 0361-5553 All Rights Reserved phony Orchestra, Waco Symphony Orchestra, San Angelo Published quarterly by the INTERNATIONAL CLARINET SOCIETY Symphony Orchestra, Lake Charles Symphony Orchestra, Designed and printed by: FALLS PRINTING CO. — Idaho Falls, Idaho USA and, most recently, with the Blossom Music Festival. 2 — The Clarinet Pierce's potpourri By Jerry D. Pierce, President, I. C. S. It was a real pleasure this that, as an excellent player, this handicap after the war did past summer to talk to some not stop his career, and, in fact, his name lives on because of of the most knowledgeable some of the works that were written for him — such as the clarinetists about repertoire. Ravel Concerto for the Left Hand — and, in this case, the Although I never started out Schmidt. I might not have known all of these facts, but I do with plans for a hobby of col¬ listen to Paul Harvey's "The Rest of the Story" on the radio lecting clarinet music, when I can. (Paul's son, who writes the program, was once a through the years my search concert pianist himself.) Eric Simon played the Quintet of for the "not so common" li¬ Schmidt many times with Wittgenstein. I must confess that I terature uncovered pieces didn't know of Schmidt's music until all of these events took that I personally think are of place this fall. I now find that Schmidt's influence in music worth. Rosario Mazzeo once might have been the path German composers would have commented to me "I decid¬ followed had there not been Schoenberg. The two Quintets ed long ago that I couldn't that include clarinet (one quintet in A, the other in B-flat) own all of the music written are excellent chamber music and deserve to be better known for clarinet." It really is im¬ than they are. Now that I know of their existence, the search possible to keep track of our Jerry D. Pierce is on to find the music which was once published by Wein¬ ever-expanding repertoire. berger. Having evaluated many clarinet pieces for the annual "re¬ Dan Dolan, M.D., from Asheville, North Carolina has view" issue of The Instrumentalist this year, it is heartening to brought to my attention the fact that Vandoren is no longer see new editions of excellent works which make them once making the "German Facing" reed (that fit "French type" again readily available. One such piece is the Florent mouthpieces). Their German reed is now labeled "German Schmitt Sextour, Op. 120 for six clarinets (E-flat, two B-flats, Cut" or "German Model." These reeds are approximately basset horn [or E-flat alto], bass, and contra bass) now pub¬ 12mm at the tip and appear to us to be somewhat akin to an lished by Billaudot with both score and parts. One will pro¬ E-flat clarinet reed. While Karl Leister has been using this bably need both for a successful performance of this com¬ model of clarinet reed since 1981 (before then he used reeds plex, eleven-minute, four-movement work.
Recommended publications
  • The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument

    The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument

    Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2016 The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument Victoria A. Hargrove Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Hargrove, Victoria A., "The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument" (2016). Theses and Dissertations. 236. https://csuepress.columbusstate.edu/theses_dissertations/236 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT Victoria A. Hargrove COLUMBUS STATE UNIVERSITY THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT A THESIS SUBMITTED TO HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE HONORS IN THE DEGREE OF BACHELOR OF MUSIC SCHWOB SCHOOL OF MUSIC COLLEGE OF THE ARTS BY VICTORIA A. HARGROVE THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT By Victoria A. Hargrove A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF MUSIC PERFORMANCE COLLEGE OF THE ARTS Thesis Advisor Date ^ It, Committee Member U/oCWV arcJc\jL uu? t Date Dr. Susan Tomkiewicz A Honors College Dean ABSTRACT The purpose of this lecture recital was to reflect upon the rapid mechanical progression of the clarinet, a fairly new instrument to the musical world and how these quick changes effected the way composers were writing music for the instrument.
  • A Master of Music Recital in Clarinet

    A Master of Music Recital in Clarinet

    University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2019 A master of music recital in clarinet Lucas Randall University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2019 Lucas Randall Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Music Performance Commons Recommended Citation Randall, Lucas, "A master of music recital in clarinet" (2019). Dissertations and Theses @ UNI. 1005. https://scholarworks.uni.edu/etd/1005 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. A MASTER OF MUSIC RECITAL IN CLARINET An Abstract of a Recital Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music Lucas Randall University of Northern Iowa December, 2019 This Recital Abstract by: Lucas Randall Entitled: A Master of Music Recital in Clarinet has been approved as meeting the recital abstract requirement for the Degree of Master of Music. ____________ ________________________________________________ Date Dr. Amanda McCandless, Chair, Recital Committee ____________ ________________________________________________ Date Dr. Stephen Galyen, Recital Committee Member ____________ ________________________________________________ Date Dr. Ann Bradfield, Recital Committee Member ____________ ________________________________________________ Date Dr. Jennifer Waldron, Dean, Graduate College This Recital Performance by: Lucas Randall Entitled: A Master of Music Recital in Clarinet Date of Recital: November 22, 2019 has been approved as meeting the recital requirement for the Degree of Master of Music.
  • PROGRAM NOTES Wolfgang Mozart Clarinet Concerto in a Major, K

    PROGRAM NOTES Wolfgang Mozart Clarinet Concerto in a Major, K

    PROGRAM NOTES by Phillip Huscher Wolfgang Mozart Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Clarinet Concerto in A Major, K. 622 Mozart composed this concerto between the end of September and mid-November 1791, and it apparently was performed in Vienna shortly afterwards. The orchestra consists of two flutes, two bassoons, two horns, and strings. Performance time is approximately twenty-nine minutes. The Chicago Symphony Orchestra’s first performance of Mozart’s Clarinet Concerto was given at the Ravinia Festival on July 25, 1957, with Reginald Kell as soloist and Georg Solti conducting. The Orchestra’s first subscription concert performance was given at Orchestra Hall on May 2, 1963, with Clark Brody as soloist and Walter Hendl conducting. Our most recent subscription concert performances were given on October 11 and 12, 1991, with Larry Combs as soloist and Sir Georg Solti conducting. The Orchestra most recently performed this concerto at the Ravinia Festival on July 15, 2001, with Larry Combs as soloist and Sir Andrew Davis conducting. This concerto is the last important work Mozart finished before his death. He recorded it in his personal catalog without a date, right after The Magic Flute and La clemenza di Tito. The only later entry is the little Masonic Cantata, dated November 15, 1791. The Requiem, as we know, didn’t make it into the list. For decades the history of the Requiem was full of ambiguity, while that of the Clarinet Concerto seemed quite clear. But in recent years, as we learned more about the unfinished Requiem, questions about the concerto began to emerge.
  • 6013 Missa Solemnis

    6013 Missa Solemnis

    (LYRCD 6013) MISSA SOLEMNIS & Egmont Overture Ludwig van Beethoven AMA DEUS ENSEMBLE Valentin Radu, Artistic Director and Conductor Sarah Davis, Soprano Jody Kidwell, Mezzo-Soprano Timothy Bentch, Tenor Ed Bara, Bass PROGRAM NOTES: EGMONT, OP. 84, is a set of incidental music pieces for the 1787 play of the same name by Goethe. It consists of an overture and nine separate subsequent pieces for soprano and full orchestra. Beethoven wrote it between October 1809 and June 1810, and it was premiered on 15 June 1810. The overture, powerful and expressive, is one of the last works of his middle period; it has become as famous a composition as the Coriolan Overture, and is in a similar style to the Fifth Symphony which he completed two years earlier. When in 1809 the Burgtheater of Vienna asked Beethoven, a great admirer of Goethe, to compose incidental music for a revival of the play, he accepted with enthusiasm. It recalled themes close to his own political preoccupations, already expressed in his opera Leonore (renamed Fidelio, in the definitive 1814 version) and in his overture Coriolan (in 1807). 1 MISSA SOLEMNIS, OP. 123 “The Missa Solemnis is the greatest work I have composed so far.” Even allowing for the facts that Beethoven was telling this to a publisher and that in1822 he had not yet composed the Ninth Symphony and the last string quartets, his declaration must be taken seriously nevertheless. The Mass is Beethoven’s largest and longest composition (not counting the opera Fidelio), and yet at times also one of his most intimate and personal.
  • A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata

    A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata

    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata Kenneth T. Aoki Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Composition Commons, and the Education Commons Recommended Citation Aoki, Kenneth T., "A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata" (1968). All Master's Theses. 1077. https://digitalcommons.cwu.edu/etd/1077 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A BRIEF HISTORY OF THE SONATA WITH AN ANALYSIS AND COMPARISON OF A BRAHMS' AND HINDEMITH'S CLARINET SONATA A Covering Paper Presented to the Faculty of the Department of Music Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Music Education by Kenneth T. Aoki August, 1968 :N01!83 i iuJ :JV133dS q g re. 'H/ £"Ille; arr THE DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in KENNETH T. AOKI, Clarinet MRS. PATRICIA SMITH, Accompanist PROGRAM Sonata for Clarinet and Piano in B flat Major, Op. 120 No. 2. J. Brahms Allegro amabile Allegro appassionato Andante con moto II Sonatina for Clarinet and Piano .............................................. 8. Heiden Con moto Andante Vivace, ma non troppo Caprice for B flat Clarinet ...................................................
  • Kimberly Cole Luevano, DMA

    Kimberly Cole Luevano, DMA

    Kimberly Cole Luevano, DMA College of Music 1809 Goshawk Lane University of North Texas Corinth, TX 76210 Denton, TX 76203 734.678.9898 940.565.4096 [email protected] [email protected] Present Appointments University of North Texas, Denton, TX. Professor 2018-present Associate Professor 2012-2018 Assistant Professor 2011-2012 Responsibilities include: • Teaching Applied Clarinet lessons. • Teaching Doctoral Clarinet Literature course (MUAG 6360). • Teaching pedagogy courses as needed (MUAG 4360/5360). • Serving on graduate student recital and exam committees. • Advising doctoral students in development and completion of dissertation work. • Assisting in coordination of instruction of clarinet concentration lessons, clarinet secondary lessons, clarinet minor lessons, and all clarinet jury examinations. • Assisting in oversight of graduate Teaching Fellow position. • Collaborating with faculty colleagues in their performances. • Assisting in instruction of woodwinds methods classes as needed. • Coaching student chamber ensembles as needed. • Recruitment and development of the clarinet studio. • Listening to ensemble auditions for placement of clarinetists in ensembles. Director: UNT ClarEssentials Summer Workshop 2011- 2018 • Artistic direction, administration, and oversight of all aspects of the 5-day on- campus event for high school clarinetists. Haven Trio (Lindsay Kesselman, soprano; Midori Koga, piano). 2012-present TrioPolis Trio (Felix Olschofka, violin; Anatolia Ioannides, piano) 2016-present Artist Clinician: Henri Selmer-Paris 2015 – present Artist Clinician: Conn-Selmer USA 2015 – present Artist Clinician: The D’Addario Company 2013- present Education Doctor of Musical Arts degree in Clarinet Performance, Michigan State University, East Lansing, MI. 1996 Master of Music degree in Clarinet Performance, Music History concentration, Michigan State University. 1994 Postgraduate Study, L’Ecole Normale de Musique de Paris, Paris, France.
  • Çalgı Bilgsi Dersi 1. Dönem (Üflemeli)

    Çalgı Bilgsi Dersi 1. Dönem (Üflemeli)

    A. Ü. Devlet Konservatuvarı Eğitim – Öğretim Programı Çalgı Bilgisi Dersi (seçmeli) ( I. Dönem - Üflemeli Çalgılar ) (çalgılar, senfoni orkestrasının partisyon sıralamasına göre verilmiştir) Dr. Öğr. Üyesi İvan ÇELAK (CELAC) TAHTA ÜFLEMELİ ÇALGILAR FLÜT AİLESİ Flüt, yaklaşık 7 bin yıldır var olan bir enstrümandır. Üflemeli çalgılar arasında en eskilerden biri olan flütü, Yunan Tanrıçası Athena'nın da çaldığı bilinmektedir; anavatanı Eski Yunan ve bazı Asya ülkeleri olarak bilinir. Bunlar arasında Latin Amerika ülkelerine de rastlamak mümkündür. Ancak flütün ortaya çıkışının ‘’anonim’’ olduğu söylenebilir. 1700’lü yıllara kadar ilk yapıldığı haliyle kullanılan flüt, daha sonra geliştirilerek günümüze kadar gelmiştir. Ünlü alman flütçü Theobald Boehm, Pentenrieder ve Greve gibi flütistler ilkel kullanımın yetersiz kalışıyla flütü bugünkü haline getiren bir takım tasarımlara geliştirmişlerdir. B. Pentenrieder (Munich, c.1840), basit sistem (7-delik) Boehm and Greve (Munich, c.1829), basit sistem (9-delik) 1832 yılında Boehm’in geliştirdiği ve günümüzdeki flüte en yakın tasarımı Senfoni orkestrası içinde ise, ‘’tahta üflemeliler’’ grubunda Obue ve Fagot ailesi ile birlikte yer alan Flüt ailesi şu enstrümanlardan oluşur: • Piccolo flüt • Sol flüt (alto) • Do flüt • • Piccolo Flüt: . İng.: Piccolo, Alm.:Kleine Flöte, It.: Flauto Piccolo (ottavino: bir oktav üstten). Orkestrada bir tane bulunur. Piccolo flütlerde kuyruk kısmı yoktur ve 30 cm uzunluğundadır Piccolo partisi genellikle flüt grubunun üst registerini genişletmek için kullanılır. Orkestra içinde ‘’tutti’’lerde bile sivrilebilir; orkestra tınısına parlaklık getirir. Çoğu zaman (sololar hariç) flütlerde birlikte kullanılır. Orkestrada daimi bir enstürmandır. Piccolo flüt, büyük flütün hemen hemen yarısı kadar uzunluktadır. Büyük flütteki kuyruk bölümü piccolo flütte yoktur. Bu nedenle de büyük flütün en kalın sesleri olan Do ve Do diyez sesleri küçük flütte bulunmaz.
  • Boosey & Hawkes and Clarinet Manufacturing in Britain, 1879-1986

    Boosey & Hawkes and Clarinet Manufacturing in Britain, 1879-1986

    From Design to Decline: Boosey & Hawkes and Clarinet Manufacturing in Britain, 1879-1986 Jennifer May Brand Thesis submitted in partial fulfilment of the requirements of Goldsmiths, University of London for the degree of Doctor of Philosophy November 2012 Volume 1 of 2 1 Declaration I declare that the work presented here is my own. Jennifer May Brand November 2012 2 Acknowledgements My thanks are extended to the following people and organisations, who have made the creation of this thesis possible: • The AHRC, for funding the initial period of research. • My supervisors, Professor Stephen Cottrell and Doctor Bradley Strauchen- Scherer, for their wisdom and guidance throughout the process. • All the staff at the Horniman Museum, especially those in the Library, Archives and Study Collection Centre. • Staff and students at Goldsmiths University, who have been a source of support in various ways over the last few years. • All the organologists and clarinettists who have permitted me to examine their instruments, use their equipment, and listen to their stories. • My friends and family, who now all know far more about Boosey & Hawkes’ clarinets than they ever wanted to. 3 Abstract Current literature agrees that British clarinet playing between c. 1930 and c. 1980 was linked to a particular clarinet manufacturer: Boosey & Hawkes. The unusually wide-bored 1010 clarinet is represented as particularly iconic of this period but scholars have not provided details of why this is so nor explored the impact of other B&H clarinets. This thesis presents an empirical overview of all clarinet manufacturing which took place at B&H (and Boosey & Co).
  • Two Serial Pieces Written in 1968 by Pierre Boulez and Isang Yun By

    Two Serial Pieces Written in 1968 by Pierre Boulez and Isang Yun By

    A Study of Domaines and Riul: Two Serial Pieces Written in 1968 by Pierre Boulez and Isang Yun by Jinkyu Kim Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee _______________________________________ Julian L. Hook, Research Director _______________________________________ James Campbell, Chair _______________________________________ Eli Eban _______________________________________ Kathryn Lukas April 10, 2018 ii Copyright © 2018 Jinkyu Kim iii To Youn iv Table of Contents Table of Contents ............................................................................................................................. v List of Examples ............................................................................................................................. vi List of Figures ................................................................................................................................. ix List of Tables .................................................................................................................................. xi Chapter 1: MUSICAL LANGUAGES AFTER WORLD WAR II ................................................ 1 Chapter 2: BOULEZ, DOMAINES ................................................................................................
  • Ensemble Walter Boeykens Dvorak

    Ensemble Walter Boeykens Dvorak

    Ensemble Walter Boeykens Dvorak . Janacek 17 maart 94 Dvorak Ensemble Walter Boeykens Programma Leos Janacek (1854-1928) Concertino voor piano, twee violen, klarinet, hoorn en fagot - Moderato - Piu mosso - Con moto - Allegro Pohadka (Sprookje) voor cello en piano - Con moto - Con moto - Allegro Mladi (Jeugd) - Suite voor fluit, hobo, klarinet, hoorn, fagot en basklarinet - Allegro - Andante Sostenuto - Vivace - Finale: Allegro animato Pauze Antonin Dvorak (1841-1904) Serenade in d, opus 44 - Moderato quasi marcia - Minuetto . Tempo de Menuetto inleidend gesprek door Francis Maes - Andante con moto - Finale . Allegro molto aanvang concert 20.00 uur pauze om 20.50 uur einde concert om 21.50 uur Ensemble Walter Boeykens Walter Boeykens Dirk De Caluwé ßuit De internationale carrière van Walter Boeykens nam Walter Boeykens klarinet tijdens de laatste tien jaar een grote vlucht. Zij tekende Hans Vanneste klarinet zich steeds duidelijker af tegen de achtergrond van de Jan Guns basklarinet grote Europese festivals van Berlijn, Parijs, Warschau, Joris Van den Hauwe hobo Madrid, en het Festival van Vlaanderen, Festival de Jan Maebe hobo Wallonie, het Hollandfestival. Sinds 1985 wijdt Walter Brian Pollard fagot Boeykens zich trouwens nog uitsluitend aan solistische Dirk Noyen fagot optredens, niet in het minst omdat de werkelijke mun- Annet Karsten contrafagot diale doorbraak sedert 1980 hem steeds opnieuw tot Martin Van de Merwe hoorn buitenlandse concertreizen verplicht. Deze internatio­ André Pichal hoorn nale waardering was zeker mede het gevolg van de Susan Vollmer hoorn fenomenale uitgebreidheid van zijn repertorium én het Marjeta Korosec viool gezag waarmee hij werken uit de meest diverse stijlpe­ Peter Despiegelaere viool riodes wist te interpreteren.
  • A Clarinet Players Companion

    A Clarinet Players Companion

    A Clarinet Players Companion A Clarinet Players Companion (A supplemental guide to be used in addition to a method book) Practical Application #2 3/31/2012 Matthew Symes American Band College at Sam Houston State University 1 A Clarinet Players Companion Contents Introduction and about the Author 3 History of the Clarinet and Timeline 4 The Anatomy of the Clarinet 7 Basics of a Reed 8 Cork Grease 10 Putting it all Together 11 Putting the Reed on 15 Putting it All Away 17 Daily Care of your Clarinet 17 Holding the Clarinet 19 Posture Check 24 Making the First Sound 24 Marking Your Reed 27 Creating the First Tone 29 Clarinet Tone Quality 30 Tone and Range 34 The Break 38 Articulations 41 Dynamics 44 Basic Fingering Guide 47 Trills and Tremolos 49 Trill Fingering Guide 50 Tuning and Pitch Tendencies 51 Famous Clarinetists and Recordings 55 Pitch Tendency Chart 57 Practice Log 58 Tips for Parents 59 References 60 2 A Clarinet Players Companion About the Author Matthew Symes is originally from Sioux Falls, South Dakota. He received a Bachelor’s degree in Music Education from the University of South Dakota. He taught band for 3 years at Lake Havasu High School in Lake Havasu City, Arizona. He has been teaching middle school band for the past three years in Las Vegas, Nevada. He is currently the Band Director at Jim Bridger Middle School in Las Vegas, Nevada. Introduction This book was written in part for the American Band College of Sam Houston State University as a Practical Application assignment and in partial fulfillment of the American Band College Masters Degree Program.
  • Reed Instruments About Reeds

    Reed Instruments About Reeds

    Reed Instruments About Reeds A reed is a thin elastic strip of cane fixed at one end and free at the other. It is set into vibration by moving air. Reeds are the sound generators in the instruments described below. Cane reeds are built as either double or single reeds. A double reed consists of two pieces of cane carved and bound into a hollow, round shape at one end and flattened out and shaved thin at the other. The two pieces are tied together to form an channel. The single reed is a piece of cane shaved at one end and fastened at the other to a mouthpiece. Single Reed Instruments Clarinet: A family of single reed instruments with mainly a cylindrical bore. They are made of grenadilla (African blackwood) or ebonite, plastic, and metal. Clarinets are transposing instruments* and come in different keys. The most common ones used in orchestras are the clarinet in A and the clarinet in Bb. When a part calls for a clarinet in A, the player may either double -i.e. play the clarinet in A, or play the clarinet in Bb and transpose* the part as he plays. During the time of Beethoven, the clarinet in C was also in use and players were expected to be able to play all three instruments when required. All clarinets are notated in the treble clef and have approximately the same written range: E below middle C to c´´´´ (C five ledger lines above the staff). Bass Clarinet: A member of the clarinet family made of wood, which sounds an octave lower than the Clarinet in Bb.